The World Cinema Project (WCP) preserves and restores neglected films from around the world. To date, 54 films from Africa, Asia, Eastern Europe, Central America, South America, and the Middle East have been restored, preserved and exhibited for a global audience. The WCP also supports educational programs, including Restoration Film Schools; intensive, results-oriented workshops allowing students and professionals worldwide to learn the art and science of film restoration and preservation. All WCP titles are available for exhibition rental by clicking "Book This Film."


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MOROCCO | 1981

TRANCES

EL HAL

Director: Ahmed El Maanouni

WRITTEN BY: Ahmed El Maanouni

EDITING: Jean-Claude Bonfanti

DIRECTOR OF PHOTOGRAPHY: Ahmed El Maanouni

PRODUCER: Izza Génini

MUSICAL DIRECTOR: Nass El Ghiwane

STARRING: Nass El Ghiwane

COUNTRY OF PRODUCTION: Morocco

LANGUAGE: Arabic

COLOR INFO: Color

RUNNING TIME: 87 minutes

PRODUCTION COMPANY: OHRA/SOGEAV

PRODUCER: Izza Génini

Restored in 2007 by Cineteca di Bologna/L’Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project, Ahmed El-Maanouni, and Izza Genini. Restoration funded by Armani, Cartier, Qatar Airways and Qatar Museum Authority. 

“It was in 1981 while I was editing a film, The King of Comedy. We worked at night so no one would call us on the telephone and I would have television on, and one channel in New York at the time, around 2 or 3 in the morning, was showing a film called Transes. It repeated all night and it repeated many nights. And it had commercials in it, but it didn’t matter. So I became passionate about this music that I heard and I saw also the way the film was made, the concert that was photographed and the effect of the music on the audience at the concert. I tracked down the music and eventually it became my inspiration for many of the designs and construction of my film The Last Temptation of Christ. […] And I think the group was singing damnation: their people, their beliefs, their sufferings and their prayers all came through their singing. And I think the film is beautifully made by Ahmed El Maanouni; it’s been an obsession of mine since 1981 and that is why we are inaugurating the Foundation with Trances.” –Martin Scorsese, May 2007


NOTES ON THE RESTORATION:

Notes on the restoration
The restoration of Trances used the original 16mm camera and sound negative provided by producer Izza Génini. The camera negative was restored both photochemically and digitally and blown-up to 35mm format. The sound negative was restored to Dolby SR and digital.

Image: © Courtesy of OHRA-Izza Génini


PHILIPPINES | 1976

INSIANG

Director: Lino Brocka

WRITTEN BY: Mario O’Hara and Lamberto Antonio

EDITING: Augusto Salvado

DIRECTOR OF PHOTOGRAPHY: Conrado Baltazar

PRODUCER: Miguel De Leon Severino

MUSICAL DIRECTOR: Max Jocson

SOUND: Luis Reyes, Ramon Reyes

STARRING: Hilda Koronel, Mona Lisa, Ruel Vernal, Rez Cortez, Marlon Ramirez

COUNTRY OF PRODUCTION: Philippines

LANGUAGE: Tagalog with French and English subtitles

COLOR INFO: Color

RUNNING TIME: 124 minutes

PRODUCER: Miguel De Leon Severino

Restored by Cineteca di Bologna/ L’Immagine Ritrovata. Restoration funded by The Film Foundation’s World Cinema Project and the Film Development Council of the Philippines.

I’m so pleased that Insiang, the second of the great Lino Brocka’s films that we’ve managed to restore, has been selected for this year’s Cannes Classics: back in 1976, this extraordinary family melodrama was the first picture from the Philippines ever selected for Cannes. Brocka was like a force of nature in world cinema, and Insiang was among his greatest achievements.  - Martin Scorsese, May 2015

Insiang is, first and foremost a character analysis: a young woman raised in a miserable neighborhood. I need this character to recreate the ‘violence’ stemming from urban overpopulation, to show the annihilation of a human being, the loss of human dignity caused by the physical and social environment and to stress the need for changes to these life conditions […] My characters always react through fighting. I have conceived Insiang like an immoral story: two women share the same man, the daughter avenges herself and, in the end, she reveals herself: she had conspired to kill her mother’s lover without having ever loved him, so that the murder was, in fact, unnecessary. Censorship refused this ending.”   - Lino Brocka

In 1977 I was in Sydney for the film festival. Before going home, I zigzagged my way back through Jakarta, Singapore, Kuala Lumpur, Hong-Kong, Manila and Seoul, to discover a new filmmaker and an unknown film: Insiang by Lino Brocka. When Insiang was released on December 17, 1976, it did not do well, and led to the collapse of CineManila, the company founded by Brocka in 1974 after the extraordinary success of Tinimbang Ka Ngunit Kulang. The shooting of Insiang began on December 1 and lasted 11 days. Knowing these dates is important as they reveal the extreme urgency he felt, and his unique, authentic desire to make this film. Insiang also presents an unusual, brilliant mise-en-scène which shows the characters being torn apart by passion, by a sort of ardent energy. I am very pleased that, two years after Manila in the Claws of Light, Cannes Classics is showcasing another restoration of a Brocka film. I still remember the excitement, along rue Antibes, surrounding the screening of Insiang at the Quinzaine de Réalisateurs, in 1978. That was a very fulfilling and emotional experience, and I’m sure the same will be true today.  -  Pierre Rissient


NOTES ON THE RESTORATION:

The restoration of Insiang was made possible through the use of the original camera and sound negatives deposited at LTC laboratories by producer Ruby Tiong Tan. 

The negative was wet-scanned at 4K resolution and digital restoration was very time-consuming. Some portions of the film, where the negative was intercut to the internegative were extremely damaged and two shots were replaced by use of a 35mm positive print preserved at the BFI National Archive.

Despite an overall acceptable state of preservation, the original optical sound negative presented critical recording issues. The sound restoration required considerable effort to try and solve or minimize the severe metallic hiss and distortions. Several acquisition methods were tested, leaving, however, very little room for improvement.


PHILIPPINES | 1975

Manila in the Claws of Light

MAYNILA SA MGA KUKO NG LIWANAG

Director: Lino Brocka

EDITING: Edgardo Jarlego, Ike Jarlego

DIRECTOR OF PHOTOGRAPHY: Miguel De Leon

ADAPTED BY: Edgardo Reyes

PRODUCER: Miguel De Leon, Severino Manotok

MUSICAL DIRECTOR: Max Jocson

SOUND: Luis Reyes, Ramon Reyes

ART DIRECTOR: Miguel De Leon

STARRING: Bembel Roco, Hilda Koronel, Rafael Roco Jr., Lou Salbador Jr., Tommy Abuel, Jojo Abella, Juling Badabaldo

COUNTRY OF PRODUCTION: Philippines

LANGUAGE: Tagalog with French and English subtitles

COLOR INFO: Color

RUNNING TIME: 124’

PRODUCER: Miguel De Leon, Severino Manotok

Restored in 2013 by the Film Development Council of the Philippines and Cineteca di Bologna/L’Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project , LVN, Cinema Artists Philippines and Mike De Leon. Restoration funded by Doha Film Institute.

There are undoubtedly a few people left who still remember that day in Cannes 1978 when rumors started circulating about a small, low budget film from the Philippines. A ‘dirty’ film, as some claimed, once more proving Lu Xun correct when he observed that while some art might originate in the sewer, it can be so full of passion that it goes as deep as tragedy.

And perhaps even further, because Lino was one of the most physical filmmakers that cinema has ever had. A true fireball, he moved insatiably from one set to rehearsals of Larawan in Fort Santiago where he directed a very dedicated group of actors, then on to a TV set where he would shoot a TV show in addition to a film as good as A Streetcar Named Desire.

He possessed a remarkable vitality that was expressed fully in the large demonstrations he organized against Marcos’ regime. With the money he made with his commercial films he bought some sophisticated sound equipment that allowed him to cover the entire Epifanio de los Santos Avenue, Manila’s massive north to south transportation corridor. Lino knew all the arteries of this swarming city, and he penetrated them just as he penetrated the veins of the outcasts in his films. Sometimes a vein would crack open and bleed. And that blood oozed on the screen with Insiang, Jaguar, Bona, Bayanko, all of which were shown in Cannes. And then, just like that, he died, in a stupid, easily avoidable car accident.

I remember a dinner, five weeks after Marcos’ fall, when Lino had realized that the Aquino regime would lead nowhere. He was no longer the same, nor were his films. He even lost his ability to joyfully seize the moment, which he was able to spread around among his friends.

Still, when you watch Manila, you’ll be burned by a flame that never goes out.

-Pierre Rissient, May 2013

 

A film director can survive in a museum, on a field or in the jungle – first, second or third world. In the third-world jungle he will be judged by his ability to survive, by the way he insists on making committed films and on believing in the power of cinema, even if no one ever asked him to do so. The rest stands on its own two feet. The aesthetics is a consequence.

A third-world filmmaker necessarily has to reinvent his own brand new cinema, squeezed by the rule of immediate profit (tougher in cinema than anywhere else), and the risk of a brutal clash with power. These are the directors who affect us deeply. Satyajit Ray in the 50’s, Ousmane Sembène in the 60’s, Lino Brocka at the end of the 60’s, and again Lino Brocka at the end of the ‘70s and today. [...]

Ultra-fast, fiercely vital, unclassifiable, this little man exists right in the heart of his country. He knows and experiences all the contradictions of Filipino culture and cinema. Brocka is not a solitary hero, he is a public figure; though marginal, exposed, and slandered, he is protected by his fame abroad. He has some key traits in common with Pasolini: a respect for “lower” culture, a feeling for the beauty of the body, a willingness to dissect the social links that the bodies represent.

Brocka loves flinging his characters into the traps of mise en scène, he never turns away when they are overwhelmed by emotion, and once they are cornered, neither can we.

-Serge Daney, 1981


NOTES ON THE RESTORATION:

The restoration of Maynila: sa mga kuko ng liwanag was made possible through the use of the original camera and sound negatives deposited by Pierre Rissient, on behalf of Lino Brocka, at the BFI National Archive in the early 1980s. The state of conservation of the negatives was critical.

The negative was wet-scanned at 4K resolution. The digital restoration process required considerable effort due to the great number of issues affecting the negative: tears, scratches, warping, visible marks and halos.

Color decay was also a significant problem. The film’s cinematographer, Mike De Leon, attentively guided the grading phase and validated a positive print for reference.

Image: © Courtesy of Film Development Council of the Philippines


SENEGAL | 1970

BADOU BOY

Director: Djibril Diop Mambéty

WRITTEN BY: Djibril Diop Mambéty

DIRECTOR OF PHOTOGRAPHY: Baidy Sow

STARRING: Laminé Ba, Al Demba Ciss, Christoph Colomb, Aziz Diop Mambéty

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: French and Wolof with English subtitles

COLOR INFO: Color

RUNNING TIME: 56 miniutes

Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata and L’Image Retrouvée laboratories in association with Teemour Diop Mambéty. Restoration funded by the Hobson/Lucas Family Foundation. 

This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation’s World Cinema Project, the Pan African Federation of Filmmakers and UNESCO—in collaboration with Cineteca di Bologna—to help locate, restore, and disseminate African cinema.


NOTES ON THE RESTORATION:

BADOU BOY was restored in 4K using the internegative and the sound negative. Color grading was supervised by Pierre-Alain Meier. 

Restoration work was carried out in 2021 at L'Immagine Ritrovata and L'Image Retrouvée laboratories. 

With special thanks to Teemour Diop Mambéty.


SENEGAL | 1966

BLACK GIRL

LA NOIRE DE...

Director: Ousmane Sembène

WRITTEN BY: Ousmane Sembène

EDITING: André Gaudier

DIRECTOR OF PHOTOGRAPHY: Christian Lacoste

ASSISTANT CAMERAMAN: Ibrahima Barro

STARRING: Mbissine Thérèse Diop, Anne-Marie Jelinek, Robert Fontaine, Momar Nar Sene, Ibrahima Boy

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: French with English Subtitles

COLOR INFO: B&W

RUNNING TIME: 65 minutes

PRODUCTION COMPANY: Les Films Domirev

Restored by Cineteca di Bologna/ L’Immagine Ritrovata laboratory, in association with the Sembène Estate, Institut National de l’Audiovisuel, INA, Eclair laboratories and the Centre National de Cinématographie. Restoration funded by The Film Foundation’s World Cinema Project. 

Black Girl, or La Noire de…, was the first of Ousmane Sembène’s pictures to make a real impact in the west, and I can clearly remember the effect it had when it opened in New York in 1969, three years after it came out in Senegal. An astonishing movie—so ferocious, so haunting, and so unlike anything we’d ever seen. 
- Martin Scorsese, May 2015

I am not for “social realism” nor for a “cinema of signs” with slogans and demonstrations. For me revolutionary cinema is something else. If we managed to set up a group of cinéastes who all make cinema directed in the same direction, I believe that then we could influence a little bit of the destinies of our country. I think that the film, more than the book, can crystallize an awakening within the masses. I am personally inspired much by the example of Brecht.
- Ousmane Sembène

In 1961, shortly after Senegal declared its independence from France, Ousmane Sembène, a self-educated dockworker, assigned himself an impossible task: to create a true African cinema as a “night school” for his people. is explosive debut—a film described as the first African feature (true in spirit, if not in fact)—inspired a form of fearless, socially engaged, and uncompromising cinema across the globe. La Noire de … (Black Girl) follows a young girl lured to France by a white bourgeoisie couple, who keep her locked in their flat as a housekeeper. As the daily and unrelenting indignities unfold, Diouana, the title character, literally loses her voice. Sembène highlights her silence, familiar to the voiceless across the globe, yet reveals Diouana’s immense dignity and, by the end, agency. He draws visually from the French Nouvelle Vague (in a film about racial and class divides, the black-and-white photography carries new power) and spiritually from the Italian neorealists, but the film’s heart and soul is African. By turning around the camera—used for 100 years to demean Black people—Sembène offers us the first humanistic gaze at Africans.

But the film (shot mostly in Dakar) also remains a seminal work of cinematic art, as it unfolds with startling precision and decisiveness, providing revealing, unforgettable and richly metaphoric perspective on a never-beforeseen Africa. La Noire de … became a sensation at festivals from Carthage to Pyongyang, and Sembène became the first non-French recipient of the Prix Jean Vigo, given previously to Alain Resnais, Chris Marker, Claude Chabrol and Jean-Luc Godard. In the film’s culminating moment, a boy grabs a mask and haunts the white businessman who entrapped Diouana. As this child pulls the mask from his face, we wonder: Will a new Africa emerge? Nearly 50 years after its initial screenings, the visionary La Noire de … remains a gorgeous, shocking and of-the-moment African story.
- Samba Gadjigo and Jason Silverman


NOTES ON THE RESTORATION:

The restoration of La Noire de… was made possible through the use of the original camera and sound negative provided by INA and the Sembène Estate and preserved at the CNC – Archives Françaises du Film.

In order to try and minimize the presence of visible spots (due to processing errors and aggravated by time) and scratches on the image, the camera negative was wet-scanned at 4K resolution. Due mainly to these two issues, the digital restoration required considerable efforts. A vintage print preserved at the Cinémathèque Française was used as reference.


SENEGAL | 1963

Borom Sarret

Director: Ousmane Sembène

WRITTEN BY: Ousmane Sembene

EDITING: Andre Gaudier

DIRECTOR OF PHOTOGRAPHY: Christian Lacoste

ASSISTANT CAMERAMAN: Ibrahima Barro

FROM: INA/Éclair/Cineteca/Sembene Family

STARRING: Ly Abdoulay, Albourah

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: French and Wolof

COLOR INFO: Black and White

RUNNING TIME: 22'

ON COMPANY: INA

Restored in 2013 by Cineteca di Bologna/L’Immagine Ritrovata laboratory and Laboratoires Éclair, in association with The Film Foundation’s World Cinema Project, the Institut National de l’Audiovisuel, and the Sembène Estate.  Restoration funded by Doha Film Institute.

I think given the fact that there is such a diversity of languages in Africa, we, African filmmakers, will have to find our own way in order to ensure that the message be understood by everyone, or we’ll have to find a language that comes from the image and the gestures. I think I would go as far as to say that we will have to go back and see some of the silent films and in that way find new inspiration.

Contrary to what people think, we talk a lot in Africa but we talk when it’s time to talk. There are also those who say blacks spend all of their time dancing – but we dance for reasons which are our own.

Dancing is not a flaw in itself, but I never see an engineer dancing in front of his machine, and a continent or a people do not spend its time dancing.

All of this means that the African filmmaker’s work is very important – he must find a way that is his own, he must find his own symbols, even create symbols if he has to.

[...] I then realized Borom Sarret, my first true short film. It is the story of a cartman who is, to some extent, the taxi driver of a horse-drawn cart. Confronted by a rich customer in a residential district prohibited to such a type of vehicle, a cop stops him, makes a complaint, and seizes the cart. Relieved of his livelihood, the poor fellow remains sadly in his place. His wife entrusts the guardianship of their children to him while saying to him “We will eat this evening…” For this I got the first work prize at the Festival of Tours in 1963.

     -Ousmane Sembène


NOTES ON THE RESTORATION:

The restoration of Borom Sarret was made possible through the use of the original camera and sound negatives provided by INA and preserved at Éclair Laboratories.

The film was scanned in 4K at Éclair Laboratories and restored at L’Immagine Ritrovata laboratory. The image was digitally stabilized and cleaned, and all wear marks were eliminated. Image grading helped recover the richness of the original cinematography.

After scanning, the sound was digitally cleaned and background noise reduction was applied to eliminate all wear marks, without losing any of the dynamic features of the original soundtrack.

The World Cinema Foundation would like to specially thank Alain Sembène and the Sembène Family for facilitating the restoration process.

Image: © Courtesy of INA


SENEGAL | 1968

CONTRAS' CITY

CITY OF CONTRASTS

Director: Djibril Diop Mambéty

WRITTEN BY: Djibril Diop Mambéty

EDITING: Jean-Bernard Bonis, Marino Rio

DIRECTOR OF PHOTOGRAPHY: Georges Bracher

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: Wolof with English Subtitles

COLOR INFO: Color

RUNNING TIME: 22 minutes

Restored in 2020 by Cineteca di Bologna/L'Immagine Ritrovata and The Film Foundation's World Cinema Project in association with The Criterion Collection. Funding provided by the Hobson/Lucas Family Foundation.

This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation’s World Cinema Project, the Pan African Federation of Filmmakers and UNESCO – in collaboration with Cineteca di Bologna – to help locate, restore, and disseminate African cinema.


NOTES ON THE RESTORATION:

The 4K restoration of CONTRAS' CITY was made from the internegative as well as the original sound negatove provided by Teemour Mambéty and preserved at LTC Patrimoine. A vintage print of the film was used as reference for color grading. 


SENEGAL | 1971

IFE / 3ÈME FESTIVAL DES ARTS

Director: Paulin Soumanou Vierya

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: French with English subtitles

COLOR INFO: Black and White

RUNNING TIME: 13 minutes

Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata laboratory, in collaboration with the Ministère de la Culture et du Patrimoine Historique de Sénégal – Direction du Cinéma. Restoration funded by the Hobson/Lucas Family Foundation.

This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation's World Cinema Project, the Pan African Federation of Filmmakers and UNESCO―in collaboration with Cineteca di Bologna―to help locate, restore, and disseminate African cinema.


NOTES ON THE RESTORATION:

The 4K restoration was completed using a 16mm print preserved by the Direction du Cinéma in Senegal. With special thanks to Tiziana Manfredi and Marco Lena.


SENEGAL | 1966

LE SÉNÉGAL ET LE FESTIVAL MONDIAL DES ARTS NÈGRES

Director: Paulin Soumanou Vierya

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: French with English subtitles

COLOR INFO: Black and White

RUNNING TIME: 28 minutes

Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata laboratory, in collaboration with the Ministère de la Culture et du Patrimoine Historique de Sénégal – Direction du Cinéma. Restoration funded by the Hobson/Lucas Family Foundation.

This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation's World Cinema Project, the Pan African Federation of Filmmakers and UNESCO―in collaboration with Cineteca di Bologna―to help locate, restore, and disseminate African cinema.


NOTES ON THE RESTORATION:

The 4K restoration was completed using a 16mm print preserved by the Direction du Cinéma in Senegal. With special thanks to Tiziana Manfredi and Marco Lena.


SENEGAL | 1976

SÉNÉGAL AN XVI

Director: Babacar Gueye and Orlando Lopez

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: French with English subtitles

COLOR INFO: Black and White

RUNNING TIME: 21 minutes

Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata laboratory, in collaboration with the Ministère de la Culture et du Patrimoine Historique de Sénégal – Direction du Cinéma. Restoration funded by the Hobson/Lucas Family Foundation.

This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation's World Cinema Project, the Pan African Federation of Filmmakers and UNESCO―in collaboration with Cineteca di Bologna―to help locate, restore, and disseminate African cinema.


NOTES ON THE RESTORATION:

The 4K restoration was completed using a 16mm print preserved by the Direction du Cinéma in Senegal. With special thanks to Tiziana Manfredi and Marco Lena.


SENEGAL | 1973

TOUKI BOUKI

Director: Djibril Diop Mambéty

WRITTEN BY: Djibril Diop Mambéty

EDITING: Siro Asteni

DIRECTOR OF PHOTOGRAPHY: Pap Samba Sow, Georges Bracher

MUSICAL DIRECTOR: Joséphine Baker, Mado Robin, Aminata Fall

SOUND: El Hadji Mbow

FROM: GTC Paris

STARRING: Magaye Niang (Mory), Mareme Niang (Anta), Aminata Fall (Tante Oumy), Ousseynou Diop (Charlie)

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: Wolof with French and English subtitles

COLOR INFO: Color

RUNNING TIME: 88 minutes

PRODUCTION COMPANY: Cinegrit

Restored in 2008 by Cineteca di Bologna/L’Immagine Ritrovata laboratory, in association with The Film Foundation’s World Cinema Project and the family of Djibril Diop Mambéty. Restoration funded by Armani, Cartier, Qatar Airways and Qatar Museum Authority.

Touki Bouki is a prophetic film. Its portrayal of 1973 Senegalese society is not too different from today’s reality. Hundreds of young Africans die every day at the Strait of Gibraltar trying to reach Europe (Melilla and Ceuta). Who has never heard of that before? All their hardships find their voice in Djibril’s film: the young nomads who think they can cross the desert ocean and find their own lucky star and happiness but are disappointed by the human cruelty they encounter. Touki Bouki is a beautiful, upsetting and unexpected film that makes us question ourselves. What a pleasure and what an achievement for Martin Scorsese’s Foundation to give Djibril Diop Mambéty a second life. To all those who support cinema: bravo! –Souleymane Cissé, May 2008


NOTES ON THE RESTORATION:

Touki Bouki has been digitally restored at 2K resolution using the original 35 mm camera and sound negatives provided by the director’s son Teemour Diop Mambéty and preserved at the GTC in Paris. Digital restoration brought the film’s original chromatic elements to light. At the end of the digital process a new 35 mm internegative was produced.

Image: © Courtesy of Teemour Diop Mambéty


SENEGAL | 1976

VOYAGE AUX ANTILLES DU PRÉSIDENT SENGHOR

Director: Georges Caristan

COUNTRY OF PRODUCTION: Senegal

LANGUAGE: French with English subtitles

COLOR INFO: Black and White

RUNNING TIME: 17 minutes

Restored by The Film Foundation’s World Cinema Project and Cineteca di Bologna at L’Immagine Ritrovata laboratory, in collaboration with the Ministère de la Culture et du Patrimoine Historique de Sénégal – Direction du Cinéma. Restoration funded by the Hobson/Lucas Family Foundation.

This restoration is part of the African Film Heritage Project, an initiative created by The Film Foundation's World Cinema Project, the Pan African Federation of Filmmakers and UNESCO―in collaboration with Cineteca di Bologna―to help locate, restore, and disseminate African cinema.


NOTES ON THE RESTORATION:

The 4K restoration was completed using a 16mm print preserved by the Direction du Cinéma in Senegal. With special thanks to Tiziana Manfredi and Marco Lena.


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